江衡的美女形象系列读解,失去灵魂的维纳斯

 美术     |      2020-01-07

艺术是生活的反映,艺术作品所呈现和表达的总是艺术家对生活的某种理解,只不过这种理解是通过独特的艺术形象展示出来。在此意义上,一部艺术史其实就是一部活生生的人类自我理解、自我解剖的人类生活的形象史。

  一,符号美术的新象征方向

Art reflects life, what the artwork presents and expresses are often an artists understanding on life, only such understanding is expressed through unique artistic modes. To which, art history is in fact the humans understanding about themselves, a portrayal of dissecting their own lives.

  江衡以一种独特的美女画,呈出了自己的个人风格。显出自己的个人风格是当代中国美术的一种出场方式。这一个人风格的当代方式,从张晓刚、王广义、岳敏君那里,形成了一种固定套路,包含了三大特征,一,以一种非现实的造型方式塑造形象,正因为非现实,而可以突显一种独特的个人标记;二,这一现实形象具有一望可知的象征性,正因为一望可知,容易为专家解说,为大众理解,获得最好的传播效果;三,这一个性形象具有配方式的复制性,配方突出直陈式语义,复制可以不断地巩固效果。不妨把这一艺术称为符号型艺术。张晓刚以其家庭照片形成了自己的家文化(呆滞之家)的个人符号,王广义以其大批判宣传画(配以消费符号)形成了自己的政治戏讽的个人符号,岳敏君以其丑面丑身(丑讽之人)形成了自己政治丑讽的个人符号。江衡以同一法则推出了自己的美女符号,与张、王、岳的面向过去与现在的关联不同,江衡的美女符号呈出的是一种现在与未来的关系,如果说,张、王、岳的艺术主要是一种文化/政治批判,那么,江衡的艺术则是一种社会/文化批判。如果说张、王、岳的艺术批判更多地是针着一种政治文化,那么,江衡的艺术批判更多地对准着当今的消费文化。从一种更宽广角度看,这两种方式对于中国社会转型的艺术表达,都可以进行多方面的理论读解,具有甚多的阐释空间。从美术史上讲,对当前中国消费文化的艺术呈现、艺术思考、艺术批判,是一个正在开始的方向,当这一方向在江衡作品中以美女符号呈现出来时,美术表达与文化内容的关系,得到了在美术上和在文化上的双重推进。

江衡作品呈现的一个主题形象便是形形色色的时尚都市美女。而时尚美女其实也正是当下生活中的一个主题形象,或者说是消费社会时代的一道独特的风景:各类商品广告、各类电视娱乐节目以及种种选美活动、各种层次的小姐、形象代言人等等,构建了当下社会生活中时尚美女的时尚。这种时尚以其不可抗拒的诱惑魅力和巨大的冲击力铺天盖地席卷而来,可以说已渗透到生活的每一个角落,乃至于几乎我们每一个人不仅仅是女人,也包括男人都不由自主、不同程度地被卷入其中,并且或多或少、或自觉或被动地推波助澜,成为这一时尚的建构者的同谋或一份子。这就是我们当下生活的现实。而隐藏于这一时尚背后的其实是赤裸裸的商业利益和被刻意建构、煽动起来的物欲。这也正是我从江衡作品中所读到的东西。

  I. New Direction for the Aesthetics of Symbolism

The main theme presented in Jiang Hengs works depicts the fashionable urbanites of beautiful women of all forms. These fashionista embody the current thematic image, in other words, they are components of a unique landscape in this consumption society: the various product advertisements, various television entertainment program and beauty pagan competitions, the miss of all levels, image spokesperson and etc all contribute to the current social life. Such fashion and its irresistible attraction and its powerful impact rush toward us, that filter through in all aspects of our lives, to everyone not only to women, but to men as well are all involved unconsciously to certain degrees, and have assisted its formation, and a member of such conspiracy. This is the reality of our current life. What is hidden behind it are the naked commercial interests and the purposefully constructed and promoted material desires. This is what I have understood from Jiang Hengs artworks.

  Jiang Heng presents his individual style with the unique paintings of femme fatales. To present ones individual style is the approach in which contemporary Chinese art is revealed. Such individual style has became a fixed model followed by artists like Zhang Xiaogang, Wang Guangyi, Yue Minjun, encompassing three characteristics: one is to compose with non-realistic forms, through which ones unique individual emblem is revealed; two, the actual form has a comprehensible symbolism, and because its comprehensible, it is easy for experts and the public to understand, as a result to be well promulgated; three, such form has a formulaic approach for reproduction, the concoction highlights the narrative connotation , reproduction that reinforces its effect. Why dont we call such art as symbolic art. Zhang Xiaogang formed his personal symbol of family culture (the idle family) with family photos; Wang Guangyi found his personal symbol of political satire with big character posters (and symbols of consumption); Yue Minjun formed his personal political criticism with vilified figures. Similarly, Jiang Heng used the symbol of the femme fatale as his trademark, unlike Zhang Xiaogang, Wang Guangyi and Yue Minjuns exploration of the past and present, Jiang Hengs femme fatale presents the relationship between the present and the future. If the art of the Zhang Xiaogang, Wang Guangyi and Yue Minjun is a type of art/political criticism, then Jiang Hengs art is a criticism of culture and society. If the former focuses on political culture, then Jiang Hengs work focuses on todays consumption culture. From a broader perspective, both these approaches provide multiple theoretical interpretations on Chinas social transition, all of which offer rooms for interpretation. Art historically, it is the beginning of artistic representation, reflection, and criticism on the current consumer culture in China. Jiang Hengs symbols of femme fatale push forward artistic cultural representation in terms of artistic expression and cultural content.

江衡的系列作品以明快艳丽的色调,平面化的构图、卡通式的夸张,塑造了一系列各种的时尚美女,这种刻意追求的非写实的艺术手法,使得作品中的美女与现实中真实的美女拉开了距离,给人一种直觉的虚假的观感。因此,观看这些作品的一个直觉反应是联想到商场里的塑料衣架模特,而其某些作品(如《偶像时代1、2、3》等)似乎在形象直观上也隐约地做出这样的诱导暗示。俗话说,眼睛是心灵的窗户;而江衡作品中的众多美女形象虽造型各异,但有一个共同的东西空洞的眼神,大大的眼睛中似乎镶嵌着一个没有内容的玻璃球。被刻意夸张了的一双大大的空洞的眼睛,似乎在向人们诉说着:我就是一个没有灵魂的人造玩偶。并且这种诉说并非是戚戚惨惨怯怯的,而是快乐的、惬意的,甚至是一种幸福自豪的诉说,因为时尚美女们呈现给人们的明快的笑颜。这是一群失落了灵魂的维纳斯,是消费时代炮制出来的玩偶式的时尚美女。

  二,作品系列的内在结构

Jiang Hengs works portray a series of various , fashionable women with bright vibrant colors, flat composition, and cartoon-like exaggerations. Such intended non-realistic artistic approach distanced the femme fatale in his paintings from those found in real life that provides the view with a faux impression. Therefore, the immediate association of viewing these paintings prompts one to imagine the mannequins in a store, whereas Jiang Hengs other works (Idol Era I, II, III, IV) seem to have literally alluded to such associations. As the saying goes, eyes are windows to ones heart; although the feminine figures in Jiang Hengs paintings come in all shapes and forms, however their common characteristics is their empty gaze, all of their big eyes are ornamented with soulless glass balls. Those purposefully soulless eyes seem to tell people that, I am a soulless fabricated doll. Moreover, such outcry is notdolorous and timid but joyful and agreeable, or even with certain sense of pride because of the smirk they present to the viewers. They are like Venus who lost her soul; they are the doll-like femme fatale produced by the consumer era.

  江衡塑造的美女画,是消费时代的艺术象征。它对自己作品一个系列的命名《消费时代的景观》,主体形象是美女与餐具,正好突出了人类的两种基本的欲望:色与食。这里且不对这一系列里的内含和象征进行分析,而要强调讲其从命名上突出了美女与消费社会的联系。由此扩展看去,江衡不断推出的以美女为主题的作品系列:《美女》系列、《美女鱼》系列、《花季》系列、《蓝色》系列、《花蝴蝶》系列、《散落的物品》系列、《满天星》系列都是对消费社会的一种呈现,都是通过美女来言说当今的消费社会。而作品命名中的主词:美女、鱼、蝴蝶、花季、蓝色、物品都具有一种紧密的意义关联,这一关联共汇成一个意义之网,使美女的意义在集中/扩散/弥漫/深化当这一组组系列作品的对当今社会的消费与美女的紧密关联有了一种强调,有了一种理解,江衡的另外一些表面上看起来与美女没有关联的系列作品,《花布》系列、《流亡系列》、《玩物猪》系列也都以这种和那种方式与美女系列关联了起来:《花布》系列中的基本元素,正是美女系列中的基本元素,可以说是一种有美女在画面外的系列。《流亡》系列中的箭,是美女系列中本有的元素,是美女系列中的明喻;《流亡》系列中的虎,虽是美女系列中没有的元素,却是美女系列中美女本身所包含的暗喻。由此可知,《流亡》系列就是美女系列。《玩物猪》系列从形象、环境、动作、用词,都暗喻着消费时代的美女。由此呈现,《玩物猪》系列就是美女系列中国社会对女性的称谓,共和国前期称同志,改革开放后改为小姐、女士,现在公共场合出现得越来越多的词是美女。如何理解美女,构成了当代文化研究的一个课题,还不是仅仅是文化研究的课题。

快乐而没有灵魂,或者说没有灵魂的快乐,或许这就是我们当下消费时代的时尚?生活在这样的一个时代,是我们的幸运还是我们的悲哀?

  II. Internal Structure within the Artworks

We are happy yet soulless, in other words, a happiness without spirituality. Perhaps this is the fashion of this consumer era. To be living in this era, are we fortunate or should we be sad about it.

  The femme fatales portrayed by Jiang Heng are artistic symbols of this consumption era. The title he has given to this series Landscape of the Consumption Era mainly depicts beautiful women and cutleries which highlights the two most basic desires: lust and food. Here, I am not going to analyze the meaning and symbolism of the two, but to focus on the title, and their associating with the femme fatale and consumption society. In this sense, Jiang Hengs work series continues to focus on femme fatale: Femme Fatale; Femme Fatal Fish, Blossom; Blue; Butterflies, Scattered Objects, Constellation and etc, are all representations of the consumption society, all reveal the todays consumption society through these beautiful women. Moreover, the keywords in these titles: femme fatale, fish, butterfly, blossom, blue, objects are all etymologically related. Such association weaves into a network of significance, allowing the meaning of the beautiful women to gather, disperse, filter and deepen. These series of works shows an emphasis and an understanding of the close relationship between consumption and beautiful women, even Jiang Hengs other series that are seemingly unrelated to beautiful women, Flower Pattern Fabric, Exile, Toy Pig can also be associated to beautiful women with the same approach: the basic elements in Flower Pattern Fabric are precisely those of the femme fatale series, it could be said as a series of beautiful women beyond the images. The arrows in Exile are the basic elements of the femme fatales allusions. Therefore, the Exile series can also be considered as part of the femme fatale series. The object, context, motions and language of the Toy Pig series all allude to the beautiful women of the consumption era. In other words, Toy Pig is also part of the femme fatale series The names given to women in Chinese society vary from the beginning of the founding of the republic of comrade, to miss, lady from the reform era, to beautiful woman now in public spaces. How to understand beautiful women became a topic of contemporary culture, or even beyond this realm.

在艺术史上,女性形象常常与美结合在一起的,她既是人们对所处身时代的理想 美女形象的一种表达,也是对其时代的美的理念的一种表达,例如《断臂的维纳斯》、《维纳斯的诞生》、《蒙娜丽莎》、《泉》等等均是如此。在此意义上说,江衡作品中的时尚美女则可看作是对我们当下时代的美女理想和美的理念的一种表达。显然,作品所渲染的这种美,是浮浅的、表面化的、没有内容的美,是虚假的、肥皂泡式的美,作品的平面化构图和非写实的夸张手法,在一定程度上也暗示、强化着这一理念的表达。这一点,如果把江衡的作品与上述经典作品相对照的话,就能更为清晰地显现出来。黑格尔曾有明言:美是理念的感性显现,而时尚美女所展示的美,显然是没有什么理念的,只是一种单纯的感性显现,其空洞与虚假也就是自然而然的事了。

  三,江衡作品的美女特色

Art historically speaking, the feminine figure is always associated with beauty, she is an expression of peoples understanding of ideal beauty of their era, and also an expression of the aesthetics of that era. For instance, Venus, Birth of Venus, Mona Lisa, and Stream are all as such. Therefore, Jiang Hengs femme fatales can be seen as the expression of the ideal beauty of our era and the concept of aesthetics of our time. Obviously, the beauty depicted in these works is shallow, superficial and meaningless, false, or bubble-like. The flattened composition and its non-realistic approach to a certain degree hint to and strengthen the expression of such concept. For this reason, if we compare Jiang Hengs work with the aforementioned classics, one would obtain an even clearer picture. Hegel has once stated that, Beauty is the sensational representation of sensations. Whereas the beauty represented by the femme fatales are obviously lacking any concept, but simply representation of sensations, which explains its emptiness and falsehood.

  III. Characteristics of Jiang Hengs Femme Fatale

时尚美女体现的是美女时尚,而美女时尚体现的是我们时代的美的理念。之所以说这种美是虚假的,是因为时尚是由隐藏着的物欲所建构的;因此由时尚所精心打造出来的美,不过是物欲披着的一张遮羞的外衣罢了。我们处身于一个消费的时代,一切事物都被转换为消费的对象,美自然也不能例外。而当美成为一种消费的对象时,美也就名存实亡了。这于具体事例而言,我们身边已有太多受时尚诱导的通过各种美容术、化妆品打造出来的人造美女,而这一趋势正方兴未艾,可以想象,当你身边充斥的全是一张张相似的精致打造的美脸,就如同江衡作品中的系列美女一般,你不可能再有真正的审美感受,有的只能是麻木和疲惫。事实上,现代社会以美的名义打造出来的各种美的时尚,已经导致时下人们所常说的审美疲劳。20世纪以来,艺术之所以不再表现美,究其根源是因为在现实生活中,美早已随风而逝,替代的是打着美的幌子而其实是为日益膨胀的物欲开道的时尚。

  美女的江衡作品的主体形象。这一美女的江衡特色可以用三点来概括:

The fashionable femme fatale represents the fashion of these beautiful women, and such fashion represents the concept of aesthetics of our era. The reason such beauty is false is because fashion is constructed with hidden material desire. Therefore, the beauty formed through fashion is nothing but a coat to cover ones timidness. We are living in an era of consumption, everything is transformed into an object to be consumed, and of course beauty is not an exception. When beauty becomes the consumable object, beauty becomes nothing but an empty void. As for specific examples in our everyday lives, there are many fashionable entice of plastic surgeries, cosmetics and such to sculpt the fabricated beauty, a trend on the incline. One can image, if ones life is surrounded with similar and sculpted beautiful faces, just as Jiang Hengs beauty series, one might not share the true aesthetic experience. Some would remain dumb and exhaust. In fact, the fashionable beauty fabricated in the name of beauty has already let to aesthetic exhaustion for many people in this era. Since the early 20th century, the reason why art no longer represents beauty is essentially because in real life, beauty has already departed us, moreover, replaced by the gradually inflated fashion run by material desires in the guise of beauty.

  第一,美女造型的玩具性。江衡的美女形象没有现实主义美术的真实性,而具一种芭比娃娃的玩具性,可以说是一种芭比娃娃的平面化。由于是玩具,可以按照理想进行造型,这一美女理想突出地体现在大眼晴上(大眼睛美女既是西方文化审美观全球化的结果,也是中国文化审美观现代化的结果);由于是玩具,这一美女的理想直接透出了面具性的假,面具性的美正在成为消费社会美女的特征,面具性的美又正适合于消费时代大量涌现的美女的本质:玩具性。

早在20世纪30年代,本雅明在其《机械复制时代的艺术作品》一文中曾对传统艺术和现代艺术进行了一个著名的区分:传统艺术具有一种独一无二性的光晕,这正是其艺术魅力之所在;现代艺术的本质则在于其可复制性,复制导致艺术光晕的消失。在此我提及本雅明并不是要对其理论进行评述,而是想借用他的区分来区分美和时尚。在我看来,美的事物都散发出一种独一无二的光晕,这种光晕隐含着某种不可穿透的神秘,使其构成独特的无可替代的这一个,而令人流连忘返,心神迷醉。而时尚的本质恰恰在于其无穷的可复制性,独特的这一个从来就不可能成为某种时尚,正是某种东西的不间断的复制,汇聚起来便形成一种时尚。

  The embellished forms of women in Jiang Hengs works can be summarized with three characteristics.

As early as the 1930s, Benjamins Artworks in the Age of Mechanical Reproduction has made the infamous distinction between traditional art and contemporary art: traditional art has a unique sense of glory, which is represents its artistic beauty; the essence of modern art resides in its producebility, that causes the glory of art to disappear. The reason I mention Benjamin is not to explicate his theories, but to appropriate his distinction to distinguish beauty and fashion. In my view, the beautiful objects all emit unique glories, such glory includes certain impenetrable kind of mystery allowing it become the unique and irreplaceable this, capturing ones attention and inebriates them. whereas, the essence of fashion resides in its endless reproducebility, the unique such could never have became any fashion. It is precisely the consistent reproduction of certain objects gathered will slowly form into a type of fashion.

  First of all, the doll characteristics of the female figure. Jiang Hengs female figure does not conjure truth from realist art, but embodies that of the Barbie Dolls. In other words, transforming Barbie dolls in two-dimensional space. As a toy, it can be shaped according to ones will. It is ideally highlighted through her big eyes (the big eyes are not only the global aesthetics of western culture, but also the result of modernizing Chinese aesthetic taste); because it is a toy, the ideal of this beautiful woman directly reveals the falsehood of its masking nature. The beauty in masking is becoming the characteristic of women in the consumption society, moreover, the masking beauty is appropriate for the essence of the beautiful women in this society: its doll-like characteristic.

消费时代是时尚主导的时代,而时尚是一种没有内涵的纯形式的直观存在物,正因为如此,才构成其方便的可复制性;因此时尚也是非理性的,对于时尚,不需要理解,不需要灵魂,只是跟随就行了。裹挟于时尚潮流中的正是人云亦云的大众,人们在一种相互复制相互模仿中,获得一种我在时代潮流之中的空洞的自我肯定和自我陶醉。

  第二,美女形象的消费性。江衡的美女,以一种欲望对象的方式显示出来。这在两个系列《消费时代的景观》和《美女鱼》中特别明显。在《消费时代的景观》中,美女被放置在饮食的盘中,构成了色食相加,有一盘一女,有两盘两女,有三盘三女,还有整整一排,还有多排群体这是美女的盛宴,是消费时代的欲望盛宴。那些对嘴唇进行强调的食盘美女,突出了美女之为食,那无头而高举大腿的女体,强调了无思想有肉体的欲望,特别是那趴在盘中臀部高翘之体态,透出了欲望消费的多重隐喻。如果说在《消费时代的景观》中,是用食盘来暗喻美女的可食性,那么在《美女鱼》中,则用鱼来突出美女既是消费欲望对象,又是消费欲望主体。鱼在中国文化中,是繁衍的喻体,这里不妨解读为美女作为消费商品在消费时代的繁荣。鱼在中国文化中,也是繁衍生命的行为象征,男女交合被称为鱼水之欢,在《美女鱼》系列中,美女总是被置身于水中,而无数的鱼儿在其周遭游动。而在消费时代,鱼,已经与人的繁衍无关,而与由生命繁衍行为本身的快感有关,是欲望游戏和欲望快感的象征。被鱼包围的美女,在一幅幅不同的图画中,显出了多种多样的表情,特别是那一眼闭一眼睁显出的媚态,突出了美女不但是消费场中的消费对象,也是进入消费场中的欲望主体。主体/对象/消费/欲望,理解了这四个关键词,美女形象的玩具性中的美而假和假而美的消费意义和时代意义才透了出来。

The consumer era is an era driven by fashion, moreover fashion is an empty form of literal objects. For this very reason, which conveniently became its reproductability. Therefore, fashion is also irrational. As for fashion, one does not need to understand. It does not require a soul, but devoted followers. Those who roam about in Fashion are the public who talk about it. while reproducing each other, people obtained a type of sense that I am part of the fashion trend by which to confirm or inebriates oneself.

  Secondly, it is the consumability of the female figure. Jiang Hengs femme fatales are displayed in a fashion of the desired object. It is especially conspicuous in the series of Landscape of the Consumption Era and Femme Fatale Fish. In Landscape of the Consumption Era, the beautiful women are placed in on plates, mixing lust and food. Some are one woman on a single plate, others show two women on two plates, and so on so forth - it is a feast of women, a feast of desire in an era of consumption. Those femme fatales highlighted lips shows her edible nature, and her headless body and raised legs emphasize a mindless yet physical desire, especially those pose with hips raised up high - a display of multiple metaphors in the consumption of desires. Similarly, Femme Fatale Fish uses fish as the object of consumption, as well as being the main body of consumption. Fish in Chinese culture is symbolic of reproduction, marriage of men and women is known as the happiness of fish in water. In the Femme Fatale Fish series, the beautiful women are often placed in water, and numerous fish swim around it. However, in the consumption era, fish is already irrelevant to the reproduction of men, but related to the satisfaction of the act of mating, symbolizing games and satisfaction of ones desire. The women surrounded by fish have shown varying expressions on different paintings, especially her flirtatious look of the winking eye, underlines that beautiful women are not only the object of consumption, but also the main body of those who consume. Once one understands the meaning of the subject/object/consumption/desire, could the meaning of consumption and the meaning of this era found in the false beauty of these women become apparent.

在此意义上说,江衡的作品可以看作是对我们当下时尚社会的一种形象表达。作品中一系列相互复制、没有个性、没有灵魂的快乐时尚美女形象,恰恰构成对时尚本质的一种揭示。

  第三,美女修饰的寓意性。从《消费时代的景观》中的食盘和《美女鱼》中的鱼,突出了江衡把美女放置进的环境,有着思想的寓意性。从这一角度看,美女画中的环境不是一般的环境,而是对美女进行定义的环境,严格地讲,美女形象本身不是写实主义的,从而美女画中的环境不应叫做环境,而是对美女进行强化主题的装饰性元素。而这些装饰性也不是随意所至、随便画出,而是精心布置、定身打造的。顺着美女主题系列一一看去,对美女进行修饰的元素一一地展现出来,而这些元素在《花布》系列中得到了集中的体现:金鱼、苹果、花朵、蝴蝶、大腿、高跟鞋、药丸、飞机、手枪这些元素都是美女形象中一个方面的体现,这些元素都有深厚的文化史和美学史的内蕴,消费时代美女的特征通过这些形象化的元素而得到了进一步的呈现。这些元素,当其单独地与美女配合出现时,突出消费时代美女的某一方面的意义,当其成组地与美女配合出现时,暗喻着消费时代美女多方面的复杂内容。且让我们对美女的修饰性元素进行专门读解。

For this reason, Jiang Hengs art can be seen as a figurative expression of the current society. The mutual reproduction, lack of characteristics, soulless happy and fashionable female figures, composes into the revelation on the essence of fashion.

  Thirdly, the metaphorical meaning of these beautiful women. The plates in Landscape of Consumption Era and the fish in Femme Fatale Fish highlights the context in which the beauties appear inform us the metaphorical meaning in the artists thinking. Form this view, the context is that in which defines the beauties, strictly speaking, since these figures are not realist portraits, therefore, the context should not be referred to their context, but the decorative elements to reinforce the ideas behind these women. These decorative elements are not done at ones will, but purposefully contemplated. As we look through the femme fatale series, and as these elements unfold, eventually they were gathered in the series of Flower Pattern Fabric: goldfish, apple, flower, butterfly, legs, stilettos, pills, airplane, hand gun each symbolize one aspect of the femme fatale, which are all rich in meanings from a culture and art historical point of view. Furthermore, the characteristics of beautiful women of the consumption era are further displayed. These elements, when each accompanies a beauty, they imply the multiple complexities of women of this era. Let us examine the decorative elements for these femme fatale.

摘之《艺术家图像志江衡》

  四 美女塑型中的元素喻体

  在美女的主要元素中,每一元素都包含着复杂的内容

  鱼:在中国文化中是性欲望和性快乐的隐喻;

  苹果:在古希腊就是与女性和由女性而引起的战争典故;

  花朵:在每一文化中,都是美人美色的明喻;

  蝴蝶:既是美人(花蝴蝶)又是追求美人(蝴蝶采花);

  大腿和高跟鞋:是现代都市的时髦象征,又是现代都市的欲望符号;

  药丸:意味着消费时代的欲望刺激,象征着消费时代的时髦病态,欲望和时髦需要药丸来刺激、来麻醉、来医治;

  手枪:按照形象的现实感受,是刺激,是危险、是死亡刺激、危险、死亡,正是与消费时代的外在繁华共荣共存在的;在精神分析的理论里,是男性生殖器的象征,与欲望、力量、射击、穿透有内容关联在一起。

  飞机:在精神分析理论中,也是男性生殖器的象征,与高升、坚硬、飞翔、穿透相关,又与欲望、高度、飘荡、迷醉相联。

  在《花布》系列里没有出现,而在其在美女系列中出现的重要元素:箭,与意义与手枪内容相同而形式不同,形式不同在于一古一今,而这又正好说明在欲望中,刺激、危险、受伤、死亡古今相同。

  总之,鱼、苹果、花朵、蝴蝶、大腿、高跟鞋、药丸、飞箭、手枪、飞机与美女联在一起出现时,既是美女所在的环境即消费时代的性质,又是在消费时代环境中的美女的性质,正是在这一意义上,江衡的美女画,具有了一种互渗性:既成为中国消费时代象征的美女,又成为由美女象征的中国消费时代。从这一角度看,可以体悟到江衡的美女为何要以玩具的形象出现,也可以体悟,为何玩具型的美女能够引起当代观众的共鸣。

  IV. The Metaphorical Elements in the Femme Fatale Composition

  Every element in forming the femme fatale conjures complex meaning.

  Fish: alludes to sexual desire and satisfaction in Chinese culture.

  Apple: symbolize female and the classic war stories caused by women in ancient Greek history.

  Flower: symbolizes beauty and glamour in every culture.

  Butterfly: not only implies beautiful women (colorful butterfly), but also the pursuit of beautiful women (butterfly resting on flowers)

  Legs and stilettos: fashion symbols of modern cities, as well as symbols of desire in modern cities.

  Pills: symbolize the stimulant for desire in the consumption era, the fashionable ailment in such era, desires and fashion requires pills to stimulate, numb and cure.

  Hand gun: the realistic reaction to this object is stimulation, danger, and death which also coexist with the external glamour of consumption era; in a spiritual analysis, it symbolizes the male reproductive organ, which is related to desire, power, ejaculation and penetration.

  Airplane: Psychoanalytically, it also symbolizes the male reproductive organ, related to erection, hard-on, flying, penetration, but is also related to desire, height, drifting and inebriation.

  Not found in the Flower Pattern Fabric, but a main element in the femme fatale series, the arrow, is similar in content with handgun but different in form, the former is found from the past, whereas the latter is a modern object. At the same time, it exemplifies that stimulation, danger, injuries, death have been the same throughout history.

  In sum, fish, apple, flower, butterfly, legs, stilettos, pills, arrows, hand guns, air planes placed with beautiful women do not only create a context for these beauties, but also defines the nature of the consumption era, moreover, defines the nature of the beauties. For this reason, Jiang Hengs paintings of beautiful women are mutually effective: portraying the beauties symbolizing Chinas consumption era, and depicting Chinas consumption era with these women. From this view, one can understand why Jiang Hengs women are portrayed as dolls, as well as how such form is accessible to the modern public.

  五 从艺术角度看江衡的美女塑型

  江衡的美女塑型是独创的,但这一独创的方式是非独创的。前面讲了,这一中国当代美术一个共有的现象,也讲了这一创作方式的三大特征,一,非现实的造型方式;二,形象的象征性;三,配方式的复制性。我想,江衡型美女的长处与短处,大概都与这一方式相关,要讲清这一点,则是另一个与文化史和美术史有复杂关联的更大的故事了。

  V. Looking at Jiang Hengs Femme Fatales Composition Artistically

  Jiang Hengs composition of femme fatale is unique, however, the approach to this uniqueness is not original. As I have mentioned before, it is a common phenomenon in contemporary Chinese art, as well as the three main characteristics of creative approaches: the non-realist composition; the symbolism of the object; and the formulaic reproducibility. I think the strength and weaknesses of Jiang Hengs femme fatale are both related to this approach, what needs to be clarified however is, the other complex story related to culture and art history.

  摘之《艺术家图像志江衡》

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